The lack of ripe new fruit is probably what makes Homegrown a slight disappointment, but judged by most standards, it’s still a very solid collection that vividly reflects a turbulent chapter in Neil Young’s long and eventful career.

Listening to The Cherry Thing is often a jarring and confusing experience, but just like the uncompromising individual pursuits of Neneh Cherry and The Thing, that's the whole point.

As Passion Pit albums go, it may not sound drastically different to what has gone before, but, nevertheless, it feels like a fresh start.

An album that is beautifully performed, but which could do with a little more of the sunny disposition that defined the band's first album.

Overall, I Don’t Live Here Anymore is a solid addition to The War On Drugs canon, and the full-on embrace of heartland rock means they may well find a whole new audience with this album.

Had they been performed by any other band, these regularly mawkish and sorrowful lyrics could have tipped the album over into an joyless torrent of petulant whining but the Danish rockers’ mish mash of catchy hooks and reflective self-awareness skilfully instil just the right amount of vitality so as to prevent that outcome from happening.

Traditional Techniques is neither a revelation nor a disaster, it’s neither a winner nor is it a loser. Simply put, this is a very, very niche record that will likely sink, never to be seen again, as soon as Pavement step foot on the Primavera Sound stage in June (coronavirus permitting). But if you were to give it a few spins, who knows where it might end up taking you?

Her ability to micromanage is clearly great. It’s not the most unique take on folk, but it is rife with charm; her intimate, sympathetic sounds soothe the most restless minds.

Living With Ghosts is an album that demands intense focus and attention.

Even at its most introspective, All The Colours Of You is an often invigorating return from a band who, despite their veteran status, still have their collective finger on the pulse.

The Constant Pageant--particularly its first half--does indeed rock, and not just by the standards of folk music.

By the end of this eclectic, intense experience Skrillex has proven himself to be an inventive and well-rounded producer, but his abilities in the pop world seem more dependent on the songwriting of others.

Minor nitpicking aside, this is a Beach House record that sounds, above all else, like a Beach House record, and we should be glad that this house was left standing and not swept away with the dreampop tide.

Some may find the often austere arrangements off-putting, but this is an album which proves that Tiny Ruins are a band that can creep into your heart without you even noticing.

Out In The Light is a blustery, at times thrillingly unstable record, and comfortably matches the standards Pierszalowski achieved with Port O'Brien.

When the stories are this well told, it doesn’t matter that Dropkick Murphys keep re-writing them.

It’s not a world beater of an album by any means, but Auerbach’s ability to continue to branch out into things other than what he’s expected to produce can only be admired.

In many ways it offers lessons in collaborative best practice, with individual sonic identities preserved, yet with a willingness to divert from usual methods on both sides proves it’s much more than just a stop-gap in between their respective next albums.

Though it’s only a brief listen, Back In Black finds Cypress Hill refreshed and re-energised.

The 10 tracks that make up Arrows will wrap you up, hug you close and tell you stories before placing you back gently, where they left you.

It may never touch the heights of The Walkmen’s best moments like The Rat or In The New Year, but these sharp, charming love songs show off anther side to Hamilton Leithauser.

Long.Live.A$AP is unlikely to win over the doubters, but it will consolidate A$AP Rocky’s status as an exciting talent.

Enticing, if inconsistent, this seems to be an album that de Graaf had dreamed of making, building on the pretty, prosaic folk-pop of her self-titled EP in 2013.

Peaking Lights' music is slow to reveal itself and unfolds gracefully, at its own pace.

A bold, energetic collaborative record. ... If another project were on its way with a bit more polish and focus that would be ideal, as the two certainly have a madcap chemistry that deserves to be explored further.

Ultimately, Lenses is a masterly album and Soft Metals’ brand of inventive, ghostly electro is a welcome break from the flood of brainless EDM that’s cluttering up airwaves and dancefloors everywhere at the moment.

So, all things considered, it’s another solid entry in McClure’s catalogue.

For now, though, they’ve managed to rekindle their affairs and surprise a few doubters.